The Riverboat Gamblers

The Riverboat Gamblers turned their headlining show at Mohawk into a thirty-minute full throttle ride. The first rip of the lead guitar sent fans crashing into each other and the floor quickly descended into a mosh pit as fans knocked their way to the front of the stage. The Riverboat Gambler's infusion of Indie and punk rock suited the ridiculous energy and lead vocals Mike Wiebe, whose overindulgence of crowd surfing kept the crowd roaring, but at times, the lyrics became unintelligible. While their punk antics may have overshadowed their lyrics, the Riverboat Gamblers still know how to put on an awesome show. The band played crowd favorites like, "On Again/Off Again" and "I'm Still Not Dead" from their album, To the Confusion of Our Enemies. Wiebe performed every rock star move he could to keep the crowd cheering and it worked. He began the show on top of the hands of his fans and after nearly splitting his head open, climbed on top of the tower of amps stacked on the side of the stage. He sat on the ledge of Mohawk's upper deck and fans rushed to touch his heaving and sweat soaked body before he leapt to the stage. One fan then pushed his way onstage with shots for the entire band, and like any good rockers, the band downed their shots and tossed their cups into the audience. Wiebe's scratchy yet youthful vocals may give the impression of just another garage punk band, but the band's riotous sound masks thoughtful lyrics.

Duncan Sheik

Most popular for his 1990s classic "Barely Breathing," the Grammy and Tony Award winner Duncan Sheik performed his latest studio effort, 2009's intimate, story-like Whisper House, in a small but cozy auditorium.

Donned in laid-back gear consisting of a black jacket, matching hat, flannel shirt, blue jeans, and brown boots, a style recalling the Creedence Clearwater Revival or 1990s grunge-era, Sheik's performance was easygoing. Despite being seemingly glued to the microphone stand, he displayed a confident cool air and exuded a warm comfortableness that was contagious. Behind him stood seven other musicians, each affixed to an assortment of instruments, and a crescent-shaped display of seven guitars, all serving a purpose for his songs.

Sheik prefaced each song with some good-humored jokes and narrative bits of a protagonist named "Christopher" and his life during the 1940s. For instance, before musically relaying "The Tale of Solomon Snell" to his audience, Sheik gave a synopsis of Christopher's desire to be protected from the evil forces of the world. The moral? No matter what you do, you're never really safe. "Known as the Bush Doctrine," Sheik quipped. Thereafter, he broke into the whimsical balladry that comprises "Tale."

The mellow "Earthbound Starlight" was an obvious highlight, being culled as a single from the album, but his driving cover of The Psychedelic Furs' New Wave staple "The Ghost in You," though not found on the album but on a four-track EP released by RCA Victor in 2008, was the icing on the cake.

Saturated in blue and purple staging lights and a casual atmosphere, Sheik's relaxed performance convincingly kept audiences' ears attuned to the Whisper House narrative. The last song, "Take a Bow," suits Sheik well: his audience should reciprocate for his respected singing-songwriting capabilities.

Jimmy LaFave

Native Texan and country singer-songwriter Jimmy LaFave hit the stage at the Cactus Café for an intimate performance. LaFave has the friendly charm of a weathered cowboy and set a relaxed mood. The warm interior and dim lighting of the venue turned the show into a jam session with old friends. Jimmy LaFave's blend of country folk and what he calls "red dirt music" is reminiscent of Woody Guthrie or James McMurtry. The show consisted of a range of songs from LaFave's albums, including his latest album, Cimarron Manifesto, and was a gentle blend of pure folk country and bluesy two-stepping country. LaFave played to a packed house, and only standing room was left minutes into the show. LaFave kept the show light and paused intermittently to joke with the audience and the band members. At one point in the show, he paused to tell the audience a story about the keyboardist who accidentally wandered onto the film set of JFK in Dallas and ended up as an extra in a scene. The audience was thoroughly entertained throughout the show, clapping and whistling on cue as soon as the last lyrics of each song ended. Jimmy LaFave will be touring for the next several months, and recently performed at the South By Southwest music conference in his home town of Austin, Texas.

The Ars Supernova

In the music world there are performers and there are musicians: One does not necessarily imply the other. Luckily for everyone at the show, The Ars Supernova seemed to excel in both aspects. They play a style of music that is most likened to a Power Metal meets Trans-Siberian Orchestra aural aesthetic. Their music is carefully arranged between a lineup that contains a violin, a guitar, a lead singer, keyboards/synth, drums, and almost everyone contributing to the vocals.

The entire performance was a continuous stream of sincere energy, but behind their elaborate stage presence was a genuine message enhanced by their apparent musicianship. The entire band wore costumes that included slightly formal attire: vests, slacks (or skirts), and eye makeup. All different types of lighting cut through the thick fog that hung on the stage, as the music filled the room, and the heat from their performance blanketed the crowd. The lead singers voice (Jirod Greene) would cut through the room, and could range anywhere from soft and sweet, soulful, to pure aggression. His performance on stage cemented the overall feeling as operatic. Even with some initial technical difficulties in the microphones, the band continued on with its performance, never dropping character or losing a beat.

The synthesizer provided musical ambiance, and the piano parts blended well with the constant distorted guitar riffs to provide a solid rhythmic foundation with the drums. The classically inspired solos of the guitar and the violin gave the energy of a symphony, while the distortion served as a constant reminder that they were there to play Rock 'n' Roll.